>> well, i mean the first thing was when i got a call from sharon grimberg and mark samuels.t was like, "okay, i've never done a historical native piece," and i said, "now, what's going to make this different?" you know, for me, you know, whenever you see these scripts about native people in historical terms, you read the script and at the end, the indians die. and i say, "well," you know, "what's the difference here?" they're interchangeable; it's like the seminoles, the cherokees, the lakotas, the navajos, you know? you know, whoever it might be, at the end, they... you know, that's the hollywood version of indians in movies. and so i said, you know, "what's different about this?" and what's different about it is that, you know, we went, you know, inside the house. we actually showed wes studi, you know, as a slave owner, which is not a great moment in cherokee history. but it's inside where we're seeing something we haven't ever seen before. and when i'm shooting the scene with wes studi riding a horse, and he comes down and he's talking to his slaves in cherokee, i say to